Sabrina DeTurk, Ph.D.
email@example.com | zayed.academia.edu/SabrinaDeTurk | sabrinadeturk.com
Ph.D., History of Art, Bryn Mawr College, Bryn Mawr, PA, 1998
M.A., History of Art, Bryn Mawr College, Bryn Mawr, PA, 1996
A.B., History of Art, Wellesley College, Wellesley, MA, 1992
Fellow of the Higher Education Academy (UK)
Certificate in Finance and Accounting from the Wharton School of the University of Pennsylvania
Graduate of the HERS Leadership Institute for Women in Higher Education Administration
Zayed University, Dubai, UAE (2014-present)
Associate Professor, College of Arts and Creative Enterprises (2018-present)
Assistant Dean for Research (2019-present)
Assistant Professor, College of Arts and Creative Enterprises (2014-18)
Assistant Dean for Students (2016-18)
Saint Joseph’s University, Philadelphia, PA (2008-2014)
Associate Dean and Executive Director, Graduate Arts and Sciences
Instructor, Art Department (2009-2014)
SunGard Higher Education, Malvern, PA, 2006-2008
Organizational Consultant, Luminis Services
Corcoran College, Washington, DC, 2007
Instructor, Humanities Department
Salem College, Winston-Salem, NC, 2005-2006
Dean of Undergraduate Studies
Instructor, Art Department
La Salle University, Philadelphia, PA, 1997-2005
Assistant Provost for Learning Support and Faculty Development (2002-05)
Director, Art and Art History Program (1998-2002)
Assistant Professor, Fine Arts Department (1997 – 2002)
Lecturer, Fine Arts Department (2002-2005)
RESEARCH & PUBLICATIONS
Research in Progress
Contemporary Art in the Middle East and North Africa
Renaissance Art in Venice
Memorials and Memorial Museums
Creating a Global Art History Curriculum
Street Art in the Middle East (London: I.B. Tauris, 2019)
“Cultural Heritage, Art and Museums in the Middle East,” co-editor with Sarina Wakefield (Abingdon, UK: Routledge).
“Encounters with Interactive Technologies in UAE Museums,” co-author with Kara McKeown, in G. Avenarius, A. Deemas and S. Kamel (eds.), Appropriate Museology, Appropriate Language: Essays on Translation and Communication in the Museum (Berlin: Hochschule für Technik und Wirtschaft Berlin, 2018) 139-156.
Refereed Journal Articles
“Memory of Absence: Contemporary Counter-Monuments,” Art and the Public Sphere, 6:1/2 (2017) 79-92.
“The ‘Banksy Effect’ and Street Art in the Middle East,” Street Art and Urban Creativity Scientific Journal, 1:2 (2015) 22-30.
“The Contested Space of Memory: New York’s 9/11 Memorial,” The International Journal of Social, Political and Community Agendas in the Arts, 7 (2013) 47-55.
“Commemoration and Caution: Artistic Responses to the Wars in Iraq and Afghanistan,” Journal of the Association of Western Art History, 35 (2011) 273-287.
“Imag(in)ing Abu Ghraib,” Afterimage, 39:1/2 (2011) 68-70.
“Illicit Arousal: The Erotic Subtext of Tintoretto’s Tarquin and Lucretia,” Aurora: The Journal of the History of Art 2 (2001): 1-21.
“Points and Pixels: Looking at Neo-Impressionism and Digital Art,” exh. cat. Neo-Impressionism: Artists on the Edge, Ed. Fronia Simpson (Portland, ME: Portland Museum of Art, 2002) 67-81.
Reviews and Short Essays
“Profile: Zeinab Al Hashemi,” Tribe: Photography and New Media from the Arab World 6 (2018), 144.
“3rd Kochi-Muziris Biennale: ‘forming in the pupil of an eye.’” Afterimage, 44:5 (2017) 2-3.
“14th Istanbul Biennial: SALTWATER.” Afterimage, 43:4 (2016) 2-3.
“Response to ‘Where to Now? Shifting Regional Dynamics and Cultural Production in North Africa and the Middle East.” Ibraaz: Contemporary Visual Culture in North Africa and the Middle East, 2016, https://www.ibraaz.org/platforms/10/responses/192.
“Location, Location: The 20th International Symposium on Electronic Art in the UAE.” dART International, 18:1 (2015) 42-43.
“Ahmed El Shaer: The Game and Glitch is Green.” Tribe: Photography and New Media from the Arab World, Issue 00 (2015) 154.
“Distant Images, Local Positions” exhibition at the EFA Project Space, New York, NY. Afterimage, 41:5 (2014).
“It’s the Political Economy, Stupid” exhibition at the Austrian Cultural Forum, New York, NY. Afterimage, 39:6 (2012) 28-29.
“Five Chronicles of Dissent” exhibition at Marginal Utility, Philadelphia, PA. Afterimage, 39:6 (2012) 35-36.
Review of Orazio and Artemesia Gentileschi, Keith Christiansen and Judith Mann, eds., in The Sixteenth Century Journal, 34:1 (2003) 292-294.
Review of Paolo Veronese: Piety and Display in an Age of Religious Reform by Richard Cocke in Aurora: The Journal of the History of Art 3 (2002) 113-117.
Review of Visual Digital Culture: Surface Play and Spectacle in New Media Genres by Andrew Darley, on the Web site Resource Center for Cyberculture Studies, December 2001.
Review of Santa Maria della Salute: Architecture and Ceremony in Baroque Venice by Andrew Hopkins, in The Sixteenth Century Journal, 32:3 (2001) 818-20.
“Art of War: Street Art, Cultural Identity, and Creative Expression in Yemen and Syria,” Museums in Arabia Conference, London, UK, June 2019.
“Public Heritage, Public Space: Street Art and Cultural Identity in the UAE,” Tangible/Intangible Heritage(s) Conference, London, UK, June 2018.
“Material Culture in the Louvre Abu Dhabi: Museological and Art Historical Perspectives,” co-presented with Sarina Wakefield, The Royal Anthropological Society’s Art, Materiality and Representation Conference, London, UK, June 2018.
“Art, Culture and Materiality in the Arabian Peninsula,” session co-chair with Sarina Wakefield, The Royal Anthropological Society’s Art, Materiality and Representation Conference, London, UK, June 2018.
“Showing and Seeing the Body in Emirati Contemporary Art,” Varieties of Emirati Womanhood: Subjectivities, Creativities, and Confines Conference, NYU Abu Dhabi, UAE, March 2018.
“Where are the Women? Representation of Emirati Women Artists in the Local, Regional and International Art World,” Museums in Arabia Conference, Manama, Bahrain, October 2017
Workshop Co-Chair, “Gender and Identity in the Gulf: Cultural Constructions and Representations,” Gulf Research Meeting, Cambridge, UK, August 2017
Session Chair, “Towards an Appropriate Pedagogy in the United Arab Emirates: Local vs. International Educational Models,” The British Society for Middle Eastern Studies (BRISMES), Edinburgh, UK, July 2017
“Image and Identity: Reflections of the Female Body in the Work of Emirati Women Artists,” College Art Association Annual Conference, New York, NY, February 2017.
“Global Art History in the Middle East: Pedagogy and Practice,” Troubled Contemporary Art Practices in the Middle East, Nicosia, Cyprus, June 2016
“Earth as Means and Metaphor in Maya Lin’s Vietnam Veterans Memorial,” College Art Association Annual Conference, Washington, DC, February 2016
“Teaching Global Art History in the Gulf Region: A New Approach,” 3rd Annual International Conference on Humanities and the Arts in a Global World (ATINER), Athens, Greece, January 2016
“Street Art and Cultural Context in the MENA Region,” HISTART ’15, Istanbul, Turkey, October 2015
Invited lecture, “Life Behind the Veil: United Arab Emirates and Iran,” Philadelphia Geographical Society, Philadelphia, PA, July 2015; also delivered in February 2016
“Memory of Absence: Krakow’s Jewish Ghetto Memorial as Counter-Monument,” Re-Inventing Eastern Europe Conference, Krakow, Poland, April 2015
“Martyrs and Victims: Memorial Architecture in Iran and the U.S.,” AUD/BRISMES conference on Re-Locating Middle East Studies, Dubai, April 2015
“Memorial Architecture and Aesthetic Pleasure,” American Studies Association Annual Meeting, November 2014, Los Angeles, CA
“Materiality and Memory in Post-War El Salvador,” Things to Remember: Materializing Memories in Art and Popular Culture Conference, June 2014, Radboud University, Nijmegen, Netherlands
Invited lecture, “The City Revealed: Vittore Carpaccio and Narrative Painting in Renaissance Venice,” the annual Raymond S. Schmandt Lecture, Saint Joseph’s University, April 2014, Philadelphia, PA
“The Banksy Effect: The Rise of Street Art in Contemporary Visual Culture,” Popular Culture Association/American Culture Association Annual Conference, April 2014, Chicago, IL
“The Legacy of ‘The Wall’: The Aesthetics of Contemporary Memorial Design,” Athens Institute for Education and Research: Fine and Performing Arts Conference, June 2013, Athens, Greece
“The Contested Space of Memory: New York’s 9/11 Memorial,” Arts in Society Annual Conference, July 2012, Liverpool, UK
“What’s in a Name?: Personal Identity and the 9/11 Memorials,” Popular Culture Association/American Culture Association Annual Conference, April 2012, Boston, MA
“Commemoration and Caution: Artistic Responses to the Wars in Iraq and Afghanistan,” Art After Disasters Conference, May 2011, EWHA University, Seoul, South Korea
Session chair and speaker, “The Art of War: Conflict, Trauma, and Representation from the Vietnam War to Today,” College Art Association Annual Conference, February 2010, Chicago, IL
“À la recherche du temps perdu: reflections on technology, multiplicity, and meaning in contemporary art,” College Art Association Annual Conference, February 2006, Boston, MA
Invited lecture, “A Practical Guide to Collecting Photography,” given with Rick De Coyte at The Center for Emerging Visual Artists, February 2005, Philadelphia, PA
Invited lecture, “Hidden in Plain Sight: How Images Obscure and Reveal the Realities of Women’s Lives,” December 2004, La Salle University Art Museum, Philadelphia, PA
“Does Perception Influence Reception in the Visual Arts?” November 2004, Annual Conference of the American Synesthesia Association, UC Berkeley, Berkeley, CA
“Incorporating the Student Portfolio in Online Courses: Practical and Pedagogical Strategies,” February 2003, College Art Association Annual Conference, New York, NY
“Neither Virgin nor Whore: The Symbolic Status of Women in Cinquecento Venice,” October 2002, Sixteenth Century Studies Conference, San Antonio, TX
Session chair for “From Brushstrokes to Bytes: Art Historical Approaches to Digital Art,” February 2002, College Art Association Annual Conference, Philadelphia, PA
“Only Connect: Digital Art and the New Role of the Spectator,” March 2001, College Art Association Annual Conference, Chicago, IL
“Viewer as Player: Interactivity in Digital Art,” November 2000, Small Computers in the Arts Network Conference, University of the Arts, Philadelphia, PA
“Does Digital Art Have an (Art) History?,” September 2000, International Congress on the History of Art, London, UK
“A Feminist Dilemma: How Do We Read Depictions of Rape?,” October 1999, Feminist Art and Art History Conference, Barnard College, New York, NY
“Illicit Arousal: Pornographic References in Tintoretto’s Paintings of Tarquin and Lucretia,” October 1998, Sixteenth Century Studies Conference, Toronto, Canada
“Interpret This!: Art Historical Approaches to New Media,” October 1998, Conference on Art and Technology, Hagley Museum and Library, Wilmington, Delaware; also presented in November 1998, at the Small Computers in the Arts Network Conference, University of the Arts, Philadelphia, PA
“Titian’s Tarquin and Lucretia: Reading a Narrative of Rape in its Historical Context,” October 1997, Sixteenth Century Studies Conference, Atlanta, GA